Rocketman lands among the stars

“Shoot for the moon, because even if you miss, you’ll land among the stars.” – early 00’s MSN Status Update Proverb

If there’s an overarching theme for film releases in the late ‘10s, it has to be: Nostalgia. Whether it’s remakes and re-boots like Dumbo, The Lion King or Toy Story 4, or biopics with familiar faces (Bohemian Rhapsody, Straight Outta Compton or even First Man), Hollywood has discovered the winning formula – simple, sometimes just simply recalibrated or modernised stories which prey on the audience’s sentimentality and make bank. And they’ve done the same with Rocketman – catchy, familiar lyrics, a larger than life persona and a peek behind the curtain to add substance and inspire empathy. And it works. Fundamentally, technically, in all the ways that Bohemian Rhapsody “didn’t”* work (and with none of the controversy). However, when it comes to nostalgia I’m not quite your fundamental nineties kid, so did it work for me?

When I say I didn’t grow up with music, I’m really not exaggerating. Sure, I had some So Fresh albums, and my stepsister bought Offspring’s Americana as an act of rebellion, but music wasn’t a feature in our house growing up. We lived  in a very small Australian bush town in the 90s before the internet, so there wasn’t a lot of outside influence – even my mum only introduced me to Jimmy Barnes and Van Morrison, so when I say I didn’t grow up with music… I didn’t grow up with music, and – as an extension of music – I have no connection to Elton John. Whatsoever. I *kind* of remember flashy outfits and ACTUALLY, who hasn’t sung Don’t Go Breaking My Heart on Singstar? But with 2019’s slate of music-related cinema approaching – Blinded by the Light, Amazing Grace, Wild Rose, Yesterday and Renee Zellweger’s Garland biopic, Judy, I can’t justify avoiding the genre anymore. So, I went and saw Rocketman.

Rocketman is Dexter Fletcher’s 2019 Elton John biopic, ranging his entire life but in true underdog fashion, focusing on the more difficult parts. The cast includes Taron Egerton as Elton John, Richard Madden as abusive lover turned manager, John Reid, and Bryce Dallas Howard and Gemma Jones as Elton’s mother and grandmother respectively.

This musical film, featuring an Elton John soundtrack performed by Taron Egerton, while covering Elton’s rise to fame, also deals with his extensive experience with abuse – substance abuse, parental abuse, manipulation by an abusive partner, as well as self-abuse through projecting those people’s abusive words onto himself. While Elton has paraded a glamour of brightness and bangers for decades, his fundamental tale is a lot darker… and in this case perhaps a slightly out of its writer’s reach.

A common complication with biopics is the pacing, due to the limit on artistic liberties with the subject’s story and one of my few complaints with Rocketman was the inconsistent pacing, barely disguised by interspersing musical numbers representing the transitions in Elton’s life.

Speaking of musical numbers, twenty-four songs are featured in the film, so if you expected a dry biopic, no. Musical numbers range from subtle to surreal, and personal to ensemble with varying degrees of success. Taron Egerton is, surprisingly, very talented. His innocent appearance often portrays the feeling of a child in their parent’s outfits, and since Elton John is such a presence, a performer whose spirit fuels his costume and his concerts – a feeling I didn’t get from Egerton, until he started singing. I have to admit – and 70% of this reaction is based on the Taupin/Elton music – I have to admit that I was affected several times by his performance.

There’s a particular musical number in Rocketman following a particularly dramatic turn where costumed paramedics pump Elton’s stomach while pushing him into costume and onto stage while Rocketman plays. The implication that as an audience we expect our favourites to push through and perform was particularly resonant, and one of several times the film hit a strong emotional note. Other examples include the specific inclusion of Bernie Taupin and the considerable acknowledgment of his contributions to Elton’s career.

Overall, Rocketman hit its target well, with nostalgia points off the charts. While none of the performances were particularly noteworthy (outside of Egerton’s voice) and the film struggled with pacing issues, I actually had a good time with this film, despite being decidedly Not A Music Person. As for a recommendation though, the more you know about Elton John’s discography, the more enjoyment you’ll get from this film.

Rocketman is in cinemas now (from May 31st)

*I haven’t seen BoRhap and have very little intention to, so I’m working off the critical consensus here. Which is a disgusting phrase that I hate, but what you gonna do?